        (o/saw (+ freq (* depth (o/sin-osc:kr rate))))))
 
 ;; #<ScheduledJob id: 1, created-at: Wed 06:17:03s, initial-delay: 1032, desc: "Overtone delayed fn", scheduled? true>
+
 
 ;;;;;;;;;;;;;;;;;;;;;;;;;;
 ;; Person/Sound Mapping ;;

        mod-multipliers [2.5 0.5 1.5]
        pitch-with-kr (map #(overtone.sc.ugen-collide/+ freq (o/sin-osc:kr (overtone.sc.ugen-collide/* % mod-rate))) mod-multipliers)]

    (overtone.sc.ugen-collide/+
        (map #(o/resonz (o/saw %) %2 q) pitch-with-kr eq-freq))))

(defn synth-filter-chain

  "I create a stack of oscilators, each narrowly EQed on a given Q (frequency) to shape a saw waveform of a certain pitch.
   The end results are sharp Q spikes that resemble vowel formants like eh, aw, ae, etc...

   Step one is created a stack of pitches, all tuned to a fundamental frequency (the freq parameter)
   The frequency is modulated (the mod-rate parameter) by the control rate (0hz = no modulation)
   The mod-rate parameter is adjusted by an array of mod-multipliers (3 mod-multipliers = three voices)
   Note: the freq and mod-rate parameters are not integers, they are overtone.sc.machinery.ugen.sc_ugen.ControlProxy
         coming from the definst macro, therefore the * must be overtone.sc.ugen-collide/*

   ex: (synth-unit-layered 200 [530 1840 2480] 0.1 25)
   --> (#<sc-ugen: binary-op-u-gen:ar [4]> #<sc-ugen: binary-op-u-gen:ar [4]> #<sc-ugen: binary-op-u-gen:ar [4]>)"

